Ballet Terms
BALLET TERMINOLOGY AND ITS USEFULNESS TO FIGURE SKATERS
If you are attending a "regular" ballet class this will help you connect and apply what you are learning in class to your figure skating technique. I will only address "barre work" here as, Ideally, all barre work is to be repeated in the centre for greater balance, control, and the use of both arms in developing artistic line. I can address "Adagio" (slow controlled combinations), "Allegro" (jumps), and turns at another time or you can e-mail me with specific questions you may have.
1. - "Turn-out"- turn-out originates from the hip sockets only. It is neither a twisting of the torso/hip area or a torqing of the knee (which will cause permanent damage to your knees, especially if you land a jump like that!). It is the ball of the femur head rotating in the socket of the pelvis while the torso remains erect (tailbone to the floor and top of the head to the ceiling). Turn-out comes from both hips simultaneously. Even if you feel that your skating leg is going "straight" turn out must be felt on both sides of the body for full torso stability. As an exercise stand in front of a full length mirror feet parallel and hands on your iliac crests (hip bon 19519p1519t es just under waist), now keeping your whole torso lifted and still, raise one leg about 8 inches off the floor directly in front of you as if you were a "peg leg" (i.e. No knee joint) and flex your foot (at this point your flexed foot should be aiming at the ceiling). Then rotate your "peg leg" out within the socket so that the whole leg still aimed toward the front rotates as a single unit to the side without tilting or twisting your iliac crests at all. Your knee and flexed foot, as a result of your rotation of the femur is now facing to the side. Repeat this motion of the raised leg (rotating in, then rotating out) until your muscles "memorize" the feeling. Repeat this exercise to the side (not so far side that your seat begins to stick out or you tilt your hips! Always keep the supporting leg pulled up and perfectly straight, and the whole torso erect, tailbone to top of the head). Repeat exercise to the back. Resist the temptation to lean away from the working leg especially to the side, and do not tilt forward when leg is behind, this builds lower back strength when done correctly. Believe it or not, when this exercise is done correctly it is very hard! Work on it till you really have it down and then practice it with arms extended to sides. For the very young or weak, a barre set parallel to the mirror is good so that they can get "behind" the barre, hold on to the barre with both hands, and check their alignment. The benefits of good turn out are countless, as the whole torso becomes a stronger more stable unit. The beautiful long line of an arabesque or spiral, the well placed lay back spin even good rotations for jumps and spins depend on it as well as strong stroking technique.
2. - Demi - Plie (half bend) The deepest knee bend you can achieve while keeping your heels in the floor, knees directly over toes (remember turn-out comes from the hips not the knees so when you "work on your turn out" you don't force your knees, you, pardon me, squeeze the buttocks, lift the torso and feel the rotations from the hip, buttocks and back of the thighs rotating toward the back). As the knees bend the whole torso should move smoothly down and then up as if the head and entire back including the tailbone were attached to a merry go round pole! This exercise not only increases "turn out" but also lengthens the Achilles tendon, helping to prevent Achilles tendonitis. All plies produce smooth, controlled, skating technique with deeper edges, are the "shock absorbers" for the whole body, and are the basis (both take off and landing) off all good jumps. Work on these facing the barre with both hands lightly on the barre until you feel it consistently correctly (this MUST be supervised, as beginners cannot see or even feel proper posture and technique. It is a learned feeling!)
3. - Grand Plie (large bend) A deep plie where, in all but second position, the heels lift off the floor at the very last moment and are placed back as soon as possible without breaking "form" on the way up to further stretch Achilles tendons and increase turn out. Keep in mind that the torso should always be lifted and still (as if you were wearing a wide fairly snug belt). Move slowly up and down on that "merry go round" pole and initiating turn out only (both on the way down as well as on the way up) from the hips. For the most part feet should be relaxed and you should feel both the little and big toe of each foot on the floor at all times. Grand plie with turn out both stretch and strengthen all the leg, knee, and gluteal muscles, as well as strengthening the lower back for "soft" jump landings with lifted torsos. something we all like to see and experience!
4. - Cambre (arched) A bend of the body from the waist in any direction. Creates flexibility of the spine as well as stretching all of the torso muscles. Most notable in figure skating for beautiful spirals (sternum to head up and smile!) and layback spins.
5. -Releve (to rise up) In "turn out" with as little weight as possible on the barre.I always suggest just resting 2 fingers of each hand on the barre when facing it, rise up on the balls of both feet. Posture must be erect (don't look down at your feet!), knees must be pulled up tightly with very straight legs, and all of the toes must be relaxed and on the floor. The releve should be as "high" as you can manage (meaning heels as high off the floor as possible) while keeping completely correct form). Then lower the heels slowly and repeat. Try to keep your ankles from wobbling and your back from arching especially on the way up! This exercise can be done in combination with other barre enchainment (combinations) and is very good for strengthening the feet and ankles and for strengthening balance. It should be repeated at least 8 times slowly, then work your way up to 16; then use just one foot (place the other behind you at the ankle). When you really become good at it try it with one hand only for balance then no hands in the centre! In our class we do this exercise on one foot with a demi plie at the height of the releve keeping the knee directly over the toes, then rising back up to full releve and holding it there for four counts, with knee pulled up tight again, and repeat. This is WONDERFUL for strengthening and stabilizing the whole knee area!
6. - Battement tendu (literally "stretched beating") Lightly holding on to the barre begin in first position, heels together and toes rotating outward (remember that all leg rotation or "turn out comes from the hip sockets only!) Legs should be straight, knees pulled up and torso lifted (shoulders down). Stretch or slide the working leg along the floor while feeling the foot stretch through the ball of the foot outward toward the full stretch of the toes on the floor. Keep hips "square" and posture tall. The weight of your body should be over the ball of the supporting leg. Now return the extended leg back through the foot to first position trying not to shift your weight. To the front, the whole inside of the leg (ideally) should be facing up toward the ceiling while the knee should be facing outward to the side. In repeating the exercise to the side, hips rotating in opposite directions, the inside of the leg should be facing forward with knee facing side. To the back, the inside of the working leg and foot should be facing the floor with knee again facing side. Always go through "demi point" (ball of the foot on the floor) as this gives you greater foot strength and awareness.something which I have found greatly lacking in figure skaters! This exercise should be repeated slowly 8 times to each side stretching and squeezing the muscles of the leg and knee while keeping your center and posture. It improves overall leg, foot, and ankle strength, turn out, and pulled up knees! This exercise is also done in "5th position" later on in your studies.
7. - Battement tendu jete: petit battement at 45 degrees and grand battement lent at 90 degrees. (Jete means to "throw" the leg out. Petit means small, grand means large, and lent means slow). All of these exercises begin the same as battement tendu but then the working leg extends off the floor at various heights keeping posture, balance and good form at all times. The slow "kick" to 90 degrees is an example of a controlled "active stretch" and is excellent for strengthening the lower back as well as working on your extensions and "finding your center".
8. - Fondu (to melt) It is a plie on the supporting leg with the working leg usually bent (knee facing out) with toe touching the ankle of, or wrapped around, the supporting leg (which is a "coupe"). On raising up out of the plie the working leg usually extends to pointe tendue par terre (on the floor) or at 45 degrees en l'air (in the air). Weight should always be over the ball of the supporting leg (in any exercise.so I wont mention it again) and as the knee bends it should consistently remain over the center of the supporting foot, both on the way down and on the way up (and where does turn out come from? Both hips simultaneously at all times .good!). This is an excellent exercise for learning how to go into and land jumps with consistency and good posture!
9. - Rond de Jamb (around with the leg) There are many forms of this exercise and all are excellent for torso control and finding your center. Rond de jamb "par terre" (on the floor) begins as a battement tendu front then, as if you are drawing on the floor with your pointed toe, extend the leg to the side and then to the back. (If you are a teacher you may want to start with demi rond de jamb). Keep your posture tall and your hips still! They will want to rotate along with the leg.don't let them! This strength comes from the lower back and the whole "pelvic girdle all the muscles that keep the lower torso stable). In figure skating this is called "core strength". This exercise is usually done in a continuous motion beginning in first position and going front, side, around back, and through first (with meticulous attention to your tendus opening and closing from first, so that they do not get sloppy because now you are doing extra things!) This direction is called "en dehors" which means clockwise. To reverse this exercise, begin with tendu back, come side and then front. This is called "en dedans" (counter clockwise). It can also be done at various heights off the floor both holding on to the barre and in the centre. In Torvill and Deans Ice Dance Seminar video Christopher Dean gives a wonderful example of this as an on and off ice centering exercise.it's great!)
10. - Frappe (to beat or strike) Unlike the Vaganova Method, we do this with a flexed foot at the ankle as it produces more "burst of power" strength in the ankle. Holding on to the barre lightly, with supporting leg pulled up and straight. Tendu the working leg out to the side and then bring it in to the ankle of the supporting leg, flexing the foot. Keeping turn out strong and torso still and lifted, with a sharp movement strike the ball of the flexed working foot onto the floor directly in front of you and follow through to a pointed toe and straight leg just off the floor. Keep the movement strong so that "energy' comes out of your pointed toe! Return the working leg quickly to the ankle of the supporting leg and flex the foot upon return. Repeat this at least 4 times to each side. Always keep your torso completely still, and your supporting knee pulled up tight. the only thing that is working sharply is the working leg. This exercise is a "must" for strength for jumps and strong stroking. (Especially when you do this exercise to the back think about strong even stroking technique)
11. - Develope (to slowly "bring out" the leg) I have covered this in the stretching section under "static active stretches". Remember to never lower the working leg knee while you are extending the leg outward, and to keep the hips from tilting.
12. -Arabesque (literally a Moorish architectural ornament). It is essentially for the skater a spiral or any movement where the straight leg is held outward from the body. Remember to never look down at the ice or floor. It looks terrible and you will never find your center of balance! Looking down also gives the impression that your are concentrating inward on some mechanical process instead of putting your heart, soul, and artistry (inspiration!) into your skating.you can think and look up and smile too! This is a wonderful exercise for increasing both spine flexibility and strength. (See stretching section for more details).
13. - Attitude (a bent arabesque, derived from the pose of the statue of Mercury by Giovanni Da Bologna). As Shown in the stretching section, can be done to the front, side or back. In front the inside of the working leg and foot should be facing the ceiling as much as possible. To the back, the working leg should be directly behind you (not out to the side!), and the length of the leg from the knee to the toe should be parallel the floor. Practice this exercise, front side and back going through retire first at the barre and then in the centre to develop hip rotation, flexibility, strength and good balance
Barre Stretches (please see "passive" and "relaxed" stretch section).
15. - Grand Battements (literally "large beating", a high kick) These come at the end of the barre section when you are fully warmed up and "passively stretched". They are, as you remember from the stretching section "active stretches" and are done "en Croix" E.I. to the front, side, back and side again, at least 4 times each side. Your posture must be very erect and stable, and the leg is "thrown" from first or fifth position through tendu, through petite battement jete up to 90 degrees or higher. The upward movement is strong and sharp.the highest point of the kick should be right on the beat! Then it is controlled on the way down so that you do not "plop" the foot back on to the floor. In advanced classes this exercise can also be done in the centre where it is much more difficult to keep both good posture and balance!
16. - Port de bras, and Epaulement (carriage of the arms and shouldering). There are 6 port de bras combinations in the Vaganova method. In the section on port de bras I will address only the first two as to really master them you must have a good teacher present with you, lots of time, patience and attention to detail... this is definitely "ART"! The arms, head, shoulders and whole upper body must be harmonious with both the skating technique and your chosen music to create and communicate continuity of expression and fluidity of line. It is what brings elegance, grace, "life" and meaning to your skating technique. Ideally it should be incorporated early in your skating endeavors so that graceful upper body movements flow naturally from the heart and mind of the skater as opposed to looking contrived and "stuck on" as an after thought. Every movement must be done with purpose, understanding why you are doing the movement, and with "follow through". Every movement has a beginning, middle, and end. Excellence means thinking through the whole movement at every point. How you get there is just as important as getting there. Enjoy the process and feeling of every movement! You are making "figures in the air" that will remain in the spectators imagination! Remember. Art grows from within a person; it takes time and intelligence, and perseverance. Art also has the ability to move people (as well as your self!) in ways that merely learning someone else s' choreography "just for the show" cannot. If good skating technique (a primarily left brained function) can be likened to the rhythm and "framework" of a piece, artistic port de bras and epaulement: articulate and expressive hands, face, shoulders and arms (although somewhat technical, primarily a right brained function) are not only the melody but the actual words, the poetry, of your communication
BASIC PRINCIPALS OF CLASSICAL PORT DE BRAS (CARRIAGE OF THE ARMS)
Basic classical arms move in a very precise and logical pattern and must be learned slowly and accurately for optimum proficiency and assistance in balance before any variations can be executed efficiently. Be aware that in basic Classical port de bras the arms are always moving in the largest possible sphere or arc that you can make - your "solar plexus" C being the center of that sphere. Never collapse that sphere by bringing the arms in close to the body or by "weakening" (i.e. drooping) the elbows.
The head must always be held high as if trying to lengthen the neck and must always move accordingly in harmony with the arms and hands. Also the eyes have a set "flow pattern" as they move in harmony with the hands and shoulders. The shoulders must be continuously held down and in correct alignment with the arms and torso (this is called "epaulement"), and the torso held strong and lifted so that the arms and shoulders are free to move fluidly with grace and ease along your axis or sphere of movement.
Always remember your finger groupings, as without them your hands will appear "dumb" and lifeless. And maintain the sense of keeping the arms slightly rounded and buoyant, always stretching for the widest sphere or arc possible as this will always give an open, clean, classical line to all you do.
In Classical port de bras the body is divided in half lengthwise and opened out along the horizontal axis. When arms move along this vertical axis (see diagrams I, II, IV, V, VI) the arms never cross over this axis or open away from it to any great degree, but glide smoothly from one position to the next with finger tips almost touching this axis. When opening out along the horizontal axis the small finger on each hand should continuously remain close to that line. curved away from the body - this slight curve is constantly maintained unless you are executing an alonge movement. When bringing arms up to 1st position (II) maintain that same curve forming a large oval and stop at the horizontal axis B directly across from your solar plexus C.
2. When arms are opening out to 2nd position (III) keep the wide arc and elbow curve (you will feel a definite stretch of the deltoid and triceps muscles when this is done correctly). Your fingertips should always be reaching for the outer extremity of your sphere as you open out, ending with arms slightly forward of the body. Taking the arms farther back from this point will cause you to lose your balance.
3. When moving arms up from 1st to 3rd (II to IV) along the vertical axis, press the shoulders down while again keeping your curve and largest possible oval (this creates a "long" neck and an open "frame" for the face). Here again for balance reasons you will stop the arms just forward of the top of your head. With head erect and eyes looking straight ahead of you, in this position you should be able to see just your little fingers in your peripheral vision.
4. When going from 1st to Cecchetti 3rd (V) always remember to use your widest, most open arc away from the body moving along the vertical and horizontal axes - fingers pulling away from each other at a 90 degree angle from C.
5. When moving arms from Vaganova 3rd to 2nd (and vice versa) picture and feel a wide bow or arc from finger tip to finger tip with just in front of overhead being the highest point. Arms should move smoothly with palms facing out in second and gradually moving to face down in 3rd position (IV). Remember to always keep arms just in front of the body for proper line and balance.
6. When moving arms from 1st into either 1st arabesque (open position - outside edge) or 2nd arabesque (closed position - inside edge) again move in the widest circumference possible from front to side to back (as if "presenting the ice" to your viewers).
Whatever combinations and "patterns" of port de bras you choose to do, remember that arms should always appear strong, graceful and sure - never weak or tentative. Arms should be as clean, clear and well thought out in your choreography as every other part of your routine. Both arm and leg movements originate "from the heart" - from the center of your torso and move out through the body and the tips of your fingers. The movement extends to the back of the rink - touching everyone.
" Where the hand goes the eye follows.
Where the eye goes the heart follows.
And thus is born expression."
(A Sanskrit saying)
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